NOTE IMDb
6,3/10
7,5 k
MA NOTE
Un juré dans un procès pour meurtre, après avoir voté pour la condamnation, a des doutes et commence à enquêter par lui-même avant l'exécution.Un juré dans un procès pour meurtre, après avoir voté pour la condamnation, a des doutes et commence à enquêter par lui-même avant l'exécution.Un juré dans un procès pour meurtre, après avoir voté pour la condamnation, a des doutes et commence à enquêter par lui-même avant l'exécution.
- Réalisation
- Scénario
- Casting principal
Amy Brandon Thomas
- Defending Counsel
- (as Amy Brandon-Thomas)
Résumé
Reviewers say 'Murder!' highlights Alfred Hitchcock's innovative use of sound and visual techniques, exploring themes of wrongful accusation and social critique. The film's stagy performances and theatrical roots reflect the transition from silent to sound cinema. Hitchcock's creative camera work and voice-over are praised, though some find the performances and pacing uneven. Despite its flaws, 'Murder!' is recognized as a crucial early work in Hitchcock's career.
Avis à la une
From my comments you will immediately recognize I am not an expert on Alfred Hitchcook or film in general. My positive reactions to this this movie are based on the fact that I felt it held my interest and that it is technically better than most talkies made in the period of 1929 to 1931, even though I think that Herbert Marshall was hampered by a script that was fine for the level of the other actors but inferior for Marshall's talent. I feel that he was out of place in this movie because of the supporting actors. It was still a good movie and you could see hints of Hitchcock future genius in the direction of the plot. I think it took courage to include some of the longer scenes in this movie, especially for a movie made in 1930. That being said I think these longer scenes were mostly effective. I think this film is watch-worthy for any film student and anyone who is a fan of Hitchcock or early talkies. In my opinion if this film were made only 4 years later with the same cast it would have been a superior film because of the massive evolution in film making in the period between 1930 and 1934.
Although not as photographically fluid as his later films, Alfred Hitchcock, in his first sound film, managed to overcome the limitations of early recording equipment. With "Murder," he produced an entertaining work that holds up better and does not creak as much as many films of the early sound period.
"Murder" also provides early clues to themes that continued throughout Hitchcock's movie-making career. The accused perpetrator of a crime, who was caught with circumstantial evidence, has only a single champion that believes in her innocence. The wrongly accused would appear throughout Hitchcock's work from Robert Donat in "The Thirty-Nine Steps" to Henry Fonda in "The Wrong Man" and Cary Grant in "North by Northwest." Sexually ambiguous characters like Handel Fane in "Murder" would continue to fascinate Hitchcock over the years as well. Again, from Judith Anderson in "Rebecca," Robert Walker in "Strangers on a Train," Farley Granger and John Dall in "Rope," to even Mrs. Bundy, the ornithologist in "The Birds," Hitchcock displays a fascination with sexual ambivalence. However, the mincing character in "Murder," as played by Esme Percy, is borderline offensive, even in the context of the period. His sexual orientation is more than suggested by the character's predilection to wear women's clothing, revel in applying makeup, and use effeminate gestures.
However, despite the film's flaws and limitations, the story of Sir John Menier's efforts to prove a young woman innocent of murder is fairly engrossing. As Sir John, a well-known actor and a member of the jury that convicts the accused woman, Herbert Marshall is stalwart as ever, and he cleverly tracks down clues and devises an intellectual trap for his prey. The rest of the cast has little to do but follow Hitchcock's direction, which is capable but not his finest. For Hitchcock students, "Murder" is essential, for other viewers, this early sound effort is generally entertaining, if a bit slowly paced and static visually.
"Murder" also provides early clues to themes that continued throughout Hitchcock's movie-making career. The accused perpetrator of a crime, who was caught with circumstantial evidence, has only a single champion that believes in her innocence. The wrongly accused would appear throughout Hitchcock's work from Robert Donat in "The Thirty-Nine Steps" to Henry Fonda in "The Wrong Man" and Cary Grant in "North by Northwest." Sexually ambiguous characters like Handel Fane in "Murder" would continue to fascinate Hitchcock over the years as well. Again, from Judith Anderson in "Rebecca," Robert Walker in "Strangers on a Train," Farley Granger and John Dall in "Rope," to even Mrs. Bundy, the ornithologist in "The Birds," Hitchcock displays a fascination with sexual ambivalence. However, the mincing character in "Murder," as played by Esme Percy, is borderline offensive, even in the context of the period. His sexual orientation is more than suggested by the character's predilection to wear women's clothing, revel in applying makeup, and use effeminate gestures.
However, despite the film's flaws and limitations, the story of Sir John Menier's efforts to prove a young woman innocent of murder is fairly engrossing. As Sir John, a well-known actor and a member of the jury that convicts the accused woman, Herbert Marshall is stalwart as ever, and he cleverly tracks down clues and devises an intellectual trap for his prey. The rest of the cast has little to do but follow Hitchcock's direction, which is capable but not his finest. For Hitchcock students, "Murder" is essential, for other viewers, this early sound effort is generally entertaining, if a bit slowly paced and static visually.
A recurring theme in Hitchcock's movies was the innocent accused who can't defend him or herself. In this case it's a young actress who is found, standing over the victim of a brutal murder, bloodied, with a fireplace poker at her feet. She has no recollection of the murder and is brought to court where she is convicted and sentenced to be hanged. But someone just doesn't believe she could have done this and begins to sort out evidence. All I can say is that there is so much promise in these early Hitchcock movies that pushes us forward to his more mature works. "Murder!" and "Blackmail" remain two of my favorite Hitchcock movies.
Two things make Murder! Interesting before one even sees it - it's early Hitchcock and the film is 87 years old!
It's not your typical Hitchcock story. A famous actor (Herbert Marshall) sits on a jury that convicts a young actress, Diana (Norah Baring) of murder, but he's haunted by the verdict.
He had an encounter with this woman some time before and suggested she gain experience by "working in the provinces." He now feels slightly responsible, as she is accused of murdering a young female costar.
Enlisting the help of a married couple in the company, he sets out to find out what really happened.
Marshall is young and attractive, and Esme Percy as Handel Fane is very memorable. A distinguished stage actor, he actually studied with Sarah Bernhardt, and roles were written for him by Bernard Shaw. His style and look are unusual.
This was filmed in a precise manner - the camera focusing on doorways, going along the floor where the murder took place and showing the bloody poker.
The climax of the film is pure Hitchcock and astounding. Well worth sitting through this early movie. Hitchcock always is.
It's not your typical Hitchcock story. A famous actor (Herbert Marshall) sits on a jury that convicts a young actress, Diana (Norah Baring) of murder, but he's haunted by the verdict.
He had an encounter with this woman some time before and suggested she gain experience by "working in the provinces." He now feels slightly responsible, as she is accused of murdering a young female costar.
Enlisting the help of a married couple in the company, he sets out to find out what really happened.
Marshall is young and attractive, and Esme Percy as Handel Fane is very memorable. A distinguished stage actor, he actually studied with Sarah Bernhardt, and roles were written for him by Bernard Shaw. His style and look are unusual.
This was filmed in a precise manner - the camera focusing on doorways, going along the floor where the murder took place and showing the bloody poker.
The climax of the film is pure Hitchcock and astounding. Well worth sitting through this early movie. Hitchcock always is.
Alfred Hitchcock's Murder! is not a great film, but I give it *** out of ****, so it must be good, and it is. The acting is good, the premise is intriguing, but the film being extremely slow-moving, makes the film boring at times, but it is still at times a quite mesmerizing film that is worth is just for the extraordinary ending. The plot deals with a woman( Norah Baring) being accused of murder, and a juror( a great Herbert Marshall) being almost sure that she is not the killer, and attempting to find this killer. I will not reveal any more of the plot to you, as I think that this film deserved to be seen, not just read. It is not one of Hitchcock's more popular films, and not one of his best. It is an early talkie, so be prepared for a poor print. But past that and it's slow-moving flaws, it's a well-acted film that deserves to be seen.
Le saviez-vous
- AnecdotesThis is the first film in which a person's thoughts are presented on the soundtrack.
- GaffesAt around 53 minutes, when Sir John, Ted Markham and his wife take their seats at the dining table. The camera dollies back too much and near the left edge of the screen Alfred Hitchcock is visible as he watches the unfolding scene. (Probably Hitchcock, but precise identity can't be determined from a partial glimpse of a right arm and leg).
- Citations
Prosecuting Counsel: I need not remind you that in the eyes of the law, men and women are equal. The crime of murder, in England at least, is judged dispassionately. Neither beauty nor youth no provocation, can be...
- Versions alternativesThe UK version includes approximately 12 minutes of footage cut from the USA release. The extra footage occurs primarily in two sequences:
- Additional jury deliberations prior to the introduction of Sir Herbert Marshall as Sir John.
- After the discovery of the broken basin in the playhouse dressing room, there is a lengthy sequence showing Sir John paying the stagehand who granted him entrance and leaving with the Markhams. The scene fades to the end of the day, with the weary trio stopping at the door of "the policeman's rooming house," where Sir John had planned to stay the night. Noticing the shabby neighborhood, he starts to change his mind and retire to his luxury hotel suite, but Ted Markham reminds him of his hope to discover further clues at the rooming house. Fade in to Sir John in bed the next morning, being awakened by the sound of crying children. The landlady (Una O'Connor, billed in the USA credits though all her scenes are cut) enters and regales Sir John with her troubles. Meanwhile, her children play on and around the bed and give him a kitten, which crawls under his covers. The landlady confirms that the suspected killer had access to a police uniform. Enter Ted Markham, whose ensuing dialogue with Sir John reinforces the importance of the "second" policeman and establishes the existence of the blood-stained cigarette case, both of which ultimately prove critical in solving the murder. Here, the scene cuts to the prison where the USA version picks up with Sir John's interview of Norah Baring.
- ConnexionsAlternate-language version of Mary (1931)
- Bandes originalesSymphony No.5 in C Minor, Op.67
(1809) (uncredited)
Music by Ludwig van Beethoven
Played during the opening credits
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Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Enter Sir John
- Lieux de tournage
- Elstree Studios, Borehamwood, Hertfordshire, Angleterre, Royaume-Uni(studio: A British International Production made at Elstree, London)
- Société de production
- Voir plus de crédits d'entreprise sur IMDbPro
- Durée1 heure 44 minutes
- Couleur
- Rapport de forme
- 1.20 : 1
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